Tilly And The Wall - O reviews
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| Avclub |
 At first, Tilly And The Wall seems like nothing more than a band with the gimmicky tap dancer instead of a drummer. Turns out it's no gimmick, though: The Omaha band's debut, Wild Like Children, was excellent, and its sophomore slump, Bottoms Of Barrels, was very mild. With O, the group isn't interested in stunts or reinventing the pop song: They just want the freedom to try whatever rhythms might work. "Pot Kettle Black" makes like the girl-gang version of The White Stripes' "Seven Nation Army," stomp-along chorus and all; the tap-dancing doesn't even show up until the third track, and the band feels free to bounce it off a full kit, stick to just drums, or ditch everything and go electro-pop....full text |
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| Pitchforkmedia |
| The cornerstone of the Team Love roster and its first signing, Omaha's Tilly and the Wall are like the aural equivalent of their label's logo-- a pastel-hued cartoon of a bespectacled teenage girl wearing braids and pink headphones with a candy-colored rainbow emanating from her mouth. Over the course of two albums, this unselfconsciously cute and relentlessly earnest quintet has emitted rainbows of their own, delivering exuberant, glittery folk-pop that's bursting with childlike joy and a sincere appreciation for the sloppy, big-hearted wonder of youth. They are a warm-and-fuzzy respite from an indie rock world that's overburdened with too-serious bands trying to make self-important "art"-- this is, after all, a group with a tap-dancing percussionist-- though their whimsical songs are infused with raucous energy and real emotion....full text |
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| Spin |
| When this Omaha outfit appeared in 2004 with a tap dancer where a drummer is supposed to be, only the band members (or Conor Oberst, who releases their albums) would've bet that Tilly and the Wall would still be around four years later. Yet here they are on their third full-length, and rather than calcify into indie-scene shtick, Tilly's music has gotten funnier and more vibrant. With Bright Eyes' Mike Mogis producing, they hold forth on scenester politics and young love in ten glee-folk jams that never stop shaking or shimmying....full text |
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